The Unique Opportunity
The Ansel Adams Gallery is thrilled to offer its collectors, friends and fellow art lovers, a chance to participate in a unique opportunity. From time to time on our website, we will be featuring a never-before- printed image from one of our distinguished Gallery artists at a discounted price, prior to its availability within the general market place.
This month, we have arranged to present two images from Alan Ross: “Oaks and Cliffs, El Capitan Meadow, Yosemite April 20, 2009” and “Lake Tenaya, Clouds and Reflections, Yosemite October 12, 2000.” While Alan’s original 16" x 20" prints range in price from $750 to $2,600 plus, you can now add one to your private collection for 25% off the initial retail price. Each gelatin silver print is hand made by Mr. Ross in his darkroom, printed to current archival standards and signed, numbered in a limited edition, as well as mounted, matted and ready for framing. The time to purchase will begin at 9:00 AM Pacific Time on Monday, October 14th, and will expire upon the close of business, Sunday, October 20th at 6:00 PM. Once the offer has expired, we anticipate an order fulfillment time of approximately four weeks to ensure the quality of each individual order. This inaugural printing offer is available for a very limited time, after which, the print will return to full price. Image sizes are nominal.
Email our curator, Evan Russel, at firstname.lastname@example.org if you have any additional questions about the prints or shipping.
The Story of the Images
Lake Tenaya, Clouds and Reflections, Yosemite October 12, 2000
© Alan Ross, All rights reserved
(text by Alan Ross)
I was heading back towards my home in Santa Fe, New Mexico after finishing up a great fall workshop for the Ansel Adams Gallery. October is an anything-can-happen time in Yosemite, and we had been fortunate in getting just enough of a snow fall to add a hint of early winter to the scenes. The clouds were beginning to clear over the high-country granite, with transient patches of light lending depth and variety to the landscape and reflections.
8x10 camera, Kodak TMax 400 film.
Trees and Mist Beneath Bridalveil Fall, Yosemite National Park, California© Alan Ross. All rights reserved
(text by Alan Ross)
This was taken out on a field session with my Ansel Adams Gallery workshop class, early on a lovely spring afternoon. I loved the wonderful paired forms of the oaks against the light on the meadow grasses and cliffs. These compositional elements revealed a sincere profile and dignity in two old friends, and their surroundings.
4x5 camera, Kodak TMax 100 film.
The fine photographs of Alan Ross can be experienced as sophisticated black-and-white still lifes or grand landscapes. His work is reminiscent of his teacher, Ansel Adams, yet has a distinct personal style.
After his 1971 graduation from the University of California, Berkeley, with a BA in Design/Photography, Alan Ross began his illustrious career in photography serving as assistant in the M. Halberstadt studio in San Francisco. As an apprentice there he practiced black-and-white and color illustration photography, general studio, and darkroom techniques. After three years of studio work, he started freelancing as a commercial photographer until joining Ansel Adams in Carmel as his photographic assistant from 1974-79.
Since 1975 he has printed the Ansel Adams Special Edition Photographs of Yosemite, a program that Ansel started in the 1950s. Ross prints these thirty images of Yosemite, all 8"x 10" in the manner in which Adams would have printed them.
Ross has taught numerous workshops for the Ansel Adams Gallery, University of California Extension, RIT, The Friends of Photography, Ilford Photographic, and photo tours to China (1981,1983). His work is widely exhibited and collected. After many years of operating his own commercial studio in San Francisco, Ross moved with his wife and daughter to Santa Fe, New Mexico.
When I first went to work as Ansel's assistant, one of the things that struck me the most was the realization, while going through boxes and boxes of his work, that he had made an awful lot of very ordinary photographs! I was somewhat stunned to learn that he had no illusions and no expectations that every film he exposed would wind up being another one of what he fondly called his 'Mona Lisa's. As an awe-struck young photographer in the presence of The Master, this revelation was an incredible relief to me; it came as a release from the burden of expecting myself to produce only perfection. It was better to experiment and try things that might work, and openly and simply respond to feelings than to over intellectualize. In fact I soon came to learn that one of Ansel's favorite phrases was "The Perfect is the enemy of the Good!"